NCERT Solutions for Class 12 English Chapter 3 - Non Fiction

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A Brief Summary of NCERT Class 12 Kaleidoscope Non-ficton Choater 3: Film Making

Ingmar Bergman was a famous Swedish director known for using intense shades of colours, like black and white, in his movies. He was not just a world-famous film director but also a legendary theatre director and an exceptional writer. He was born on the 4th of July 1918 in Uppsala and passed away on the 30th of July 2007. He has directed more than 60 films, over 170 theatrical productions, and about 300 writings. Most of his work has certain broodiness and revolves around dysfunctional families, failed artists, etc. The central theme he has tried presenting through his work is how collectively we, as humans, are unable to communicate with each other effectively.

He has acknowledged that his whole artistic career has been influenced by the works of Shakespeare, Strindberg, Ibsen, and a few other great artists. In this writing, Ingmar tells the readers about his journey from childhood into film-making. The second part of this chapter is an interview between Italian philosopher and medievalist Umberto Eco and Mukund Padmanabhan.

Kaleidoscope - Film-Making Detailed Explaination

In the first part of NCERT Class 12 English Chapter 3, film-making film director Ingmar Bergman shares his journey from a child born in a middle-class family to the life of a film director. The piece begins with him describing his shooting in Dalarna for his movie “The virgin spring”. He describes the weather as cold, and the entire cast and crew members were covered in warm clothes. Suddenly someone spots a crane flying over their head, and the whole crew is filled with the child-like wonder of seeing four cranes circling over them. All of them stop their work to look at this phenomenon. 

This autobiographical piece is divided into seven sections:

Childhood Foretells Future - In this section, Bergman talks about his childhood as the son of a clergyman. They lived in a big old apartment where he found his love for filmmaking. He explains how being brought up in a vicarage gave him the perspective of life and death much before the right age. As a five-year-old, he would observe the picture and hear cathedral bells and waltz music coming out of the picture, which shows his creative mind from a tender age. He once obtained a metal lantern with a carbide lamp. This further gave rise to his imaginations, and he would imagine different characters while smelling and looking at the lamp. When he was ten, he received a projector, and this is when he realized that he is a conjurer who can conjure images for viewers.

Split-Second Impressions - In this section, he describes how his films often have roots in vague things like a chance remark or just a few bars of music. It is these split seconds impressions formed in his mind that he wants to convey through his films. He says that his films begin with a mental image and not stories. But that mental image has many associations wrapped in them. He explains how he finds it difficult to carve a story out of these moods, tensions, tones, and scents and put them in a sequence. He tries to assimilate all of these into an understandable form for his viewers, but he cannot predict their perceptiveness.

The Rhythm of a Film - Bergman feels that all the shades and tones of his vision cannot be put on paper. He is sometimes irritated by the studio atmosphere and forgets the main essence of the film and how he had originally perceived it. He says that film breathes and pulsates in its own manner and he is unable to put the finger on it. Films reach to us through our imaginative mind and not intellect; the same is true for music. At the same time, a book or any written work needs an alliance of intellect and the will. 

Film and Written Literature - The writer feels that converting a book into a film is never perfect; hence one should avoid doing that. The dimensions of a literary work cannot be translated into visual terms. It requires many complicated adjustments, and in the end, one does not bear any fruit in proportion to the effort expended in it. Bergman finds writing the script of a film a difficult period since he needs to give logical reasons for the validity of his ideas. He does not want his work to be understood just by him and a few other people. He strives to make a film that elicits sensitive reactions from the masses.

Significant Persons - This portion lets the readers know all the important people in Bergman’s life who shaped him into who he was. The first people are his parents, who taught him many values like efficiency and punctuality. In his professional life, he was impressed by people like Torsten Hammaren, Lorens Marmsted, Herbert Grevenius, Carl Anders Dymling, and Alf Sjoberg.

The Tightrope of Film-Making - The film industry is brutal since if your movie fails, a lot of criticism is hurled at you. The film director and all involved in the filmmaking have to bear public indifference. The author does not stop to think about religious problems as they are constantly alive. He is mostly governed by the philosophy of the book, Psychology of the personality written by Etono Kaila. This book says that man lives only by his needs, whether positive or negative. Though this fact seemed devastating to Bergman, he found it true and built himself on this ground.

Cathedral-Building - Bergman wishes to be that artist whose work is considered holy, but people might not remember his name. He gives the example of the cathedral of charters which was struck by lightning and shattered. Thousands of people came from all around, like ants, and built the cathedral back. These people constituted master builders, labourers, artists, etc. But all of them remained anonymous, and no one knows to date who built the cathedral of Chartres. In today’s era, the individual’s ego and satisfaction have taken the prime position, and art has become secondary. Due to this, people are not able to connect or listen to each other.

NCERT Class 12 Kaleidoscope Chapter 3 - Film-Making Solutions

Exercise - Understanding the Text

This exercise has 5 questions, and all are long answer types. These questions require a deep understanding of the chapter.

1. Choose instances from the book that demonstrate Bergman's sensitivity to sensory impressions, which has helped him become a remarkable filmmaker.

Ans: Bergman's courage as a filmmaker is exemplified in various instances in the story. The most notable example is related to a wall hanging. He could vividly imagine and describe the wall hanging, bringing the entire scene to life through his narrative. He was also able to visualize the pigeons flying and hear the church bells ringing, immersing his readers in a completely different world. Bergman's imagination allowed him to create dramatic scenes that were entirely his own. Additionally, he stopped working to watch the cranes fly in Dalarna, which highlights his sensitivity to sensory impressions and helped make him a remarkable filmmaker.

2. What do you know about the complexities of the little, invisible tasks that go into creating a successful film?

Ans: Filmmaking involves a series of processes that lead to the final product. The first step is to decide on a theme followed by developing a strong concept and shaping the story accordingly. The storyline is the next step which comprises essential components such as montage, rhythm, and the relationship between the pictures. Proper execution of these aspects brings life to the story. Finally, shooting the film is the last crucial step that requires coordination among different departments for a successful outcome. Therefore, determining the theme, creating a consistent storyline, and ensuring coordination among all departments while shooting are the important steps in filmmaking.

3. What are some of the risks associated with filmmaking?

Ans: Filmmaking is a series of actions that involve presenting a sequence of pictures to convey a story to the audience. For a film to be successful, the theme must be relatable to the masses, as failure to do so will result in the audience not comprehending the film's message, leading to failure. Thus, it is a huge risk to capture the audience's attention with an understandable storyline. Therefore, the filmmaker must wisely choose a storyline that matches the current demand of the public. Failure to do so would make it challenging for the filmmaker to impress the viewers and make the film successful.

4.  What are Bergman's concerns about the modern film industry?

Ans: Bergman holds the belief that the modern film industry focuses on producing individualistic works, with filmmakers preferring to work in isolation. In contrast, he thinks that borrowing ideas from other works is not akin to using plagiarised content, which is a mistaken notion held by many filmmakers. Bergman argues that film-making is an ongoing process that necessitates perpetual inspiration and learning from each other. Therefore, he stresses the importance of filmmakers learning from one another as the ultimate source of knowledge in the industry.

5.Compare and contrast Bergman's and Umberto Eco's perspectives on producing films from novels.

Ans: Bergman believed that it was not possible to completely translate a novel into a film, as it does not stimulate the same intellectual faculties. This would be an injustice to the book, as movies are meant to evoke emotions directly. In contrast, Umberto Eco argued that films could increase the popularity of novels. When a movie is adapted from a book, it can reach a wider audience, thereby indirectly promoting the book. As a result, Bergman and Eco had different views on how each art form affects the audience.

Exercise - Talking About the Text

There are 2 questions in this exercise where students have to compare this writing with that of Virginia Woolf they have studied in their course. The 2nd question needs to be discussed in groups about various influencers of his life that Bergman has mentioned in this writing.

1. Split-second impressions, according to the author, generate a "mental state, not an actual story, but one abounding in fertile associations and images." In 'The Mark on the Wall,' Virginia Woolf experimented with the stream-of-consciousness approach.

Ans: Virginia Woolf used the 'Stream of consciousness' technique in her work, 'The Mark on the Wall', which is similar to Ingmar Bergman's description of split-second impressions that form a 'mental state' and not a complete story. In 'The Mark on the Wall', Woolf forms a series of images in her mind that do not create realistic stories but express her ideas, views, and opinions, giving insight into her mind. In 'Film-making', Bergman talks about how split-second impressions form a film's theme and gradually develop into a full-fledged movie. In both circumstances, a series of photos helps in the development of the overall picture, forming a mental state, and is quite similar to each other. While Bergman believes that films should not be a direct representation of a novel, both artists emphasize the importance of creating mental images that evoke emotions and connect with the audience.

2. Bergman discusses the different influences in his life, such as his parents and religious background. To what degree do an individual's accomplishments depend on the kind of influences he or she has received throughout life? Discuss.

Ans: An individual's personality and future success are shaped by the experiences and influences they encounter throughout their life. Bergman's childhood and religious upbringing are depicted as significant factor that shaped his interest in filmmaking. Similarly, an individual's upbringing serves as a foundation for their future success, and their handling of success reflects their nature and education. An individual's personality is shaped by the thoughts, feelings, and behavior that they acquire over time, which is a result of their life experiences. Thus, the various life experiences and influences that a person goes through help shape their personality, and this is how someone's personality is developed.

Exercise - Appreciation

This exercise has 2 questions, and both are related to the language and tone used by the author in the essay. Students have to compare the formal narration by Bergman to the informal interview of Umberto Eco in the second part.

1. When the author chooses experiences related to the quest of greatness, autobiographical narratives make for compelling reading. How does this apply to Ingmar Bergman's narrative of filming details?

Ans: Autobiographical accounts become captivating when the author shares instances of their pursuit of excellence. Bergman's autobiographical account showcases his passion for filmmaking, evident in the various incidents he narrates throughout the story. By sharing his personal experiences, Bergman establishes a human connection with his readers. He emphasizes the importance of attention to detail in the process of filmmaking and describes how small impressions can contribute to making a great movie. Bergman stresses the significance of basing a proper screenplay on his past experiences and works at the fundamental level to ensure perfection. He differentiates between literature and film and explains how they differ. Bergman acknowledges that his childhood experiences played a crucial role in shaping him into a courageous filmmaker. The incidents from the author's life breathe life into the narration, portraying his emotions distinctly and making this autobiographical account an exhilarating read.

2. Comment on the narration's conversational tone. Compare this to Umberto Eco's highly casual manner in the interview.

Ans: A conversational writing tone is a powerful way of writing that allows the reader to feel directly involved in the text. The author's writing skill tricks them into creating an illusion of being a part of the narration. This approach is effective in conveying the message to readers as they can relate incidents to their own lives. In contrast, Umberto Eco's interview style is more documentary-like, and the reader remains detached from the writer. This style is efficient when addressing a large audience. The contrast between Bergman's conversational tone and Eco's style is apparent.

Exercise - Language Work

This exercise has three parts which are described below:

• Vocabulary - Here, students have to write down the definitions of a few words taken from the narration.

• Grammar - This exercise explains what are subject, predicate, noun phrase, verb phrase, and Preposition phrase by taking sentences from the writing. Students have to analyze the given statements in light of the pattern described.

• Pronunciation - We often leave out the pronunciation of certain combinations of letters in rapid speech, for example, “t” is not pronounced when we say “next day”. Students have to find out the consonants that are edited or left out from the given statements.

Exercise - Things to do

This exercise has only one question which aims to bring out creative and enacting qualities in students. Students need to think of an episode that they feel is worth enacting and then write down the screenplay for the first ten minutes of the episode in the given format.

Key Features of NCERT Solutions for Class English Chapter 3

The difficult parts of NCERT Class 12 English Chapter 3 filmmaking are made easy by the expert teachers of Vedantu for class 12 students to be able to grasp them easily. The key benefits of our Class 12 English NCERT solutions kaleidoscope ch 3 are:

• The answers are prepared by experts who have immense knowledge of the English language, and they have put in hours of research to formulate the solution.

• Students will get the entire solution in a PDF format that they can access even when there is no internet connection.

• The solution provided by the teachers is based on the CBSE curriculum so that students could get high scores in their board exams.

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Conclusion

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